•\> so 



READING 



AND- 



LITERATURE 

(1915 EDITION) 

By Ai S. LEE 

Priacipai of th« Ripley Normal School 
Ripley. West Virginia 



1915 



('opyrik't- ! ' '>_v A. S. LEE 

Copyright, liK/y, by A. S. LEE 

c:opyrifirht. 1912, by A. S. LEE 

Copyrisrht, 1915, by A. S. LEK 

PUBLISHED BY THE AUTHOR 



SLOHE PRINTIN9 » BINDING CO., PARKERSBURS, W. VA. 



L"B\513 
14 



READING AND LITERATURE 

PART I 



THE TEACHING OF READING 

The teaching of reading has to do with (1) Methods, (2) 
Selection of subject matter, (3) Preparation of the lesson by 
the teacher, (4) Assig'iiment of the lesson, (5) The Author^ (6) 
The Setting, (7) Words and their meaning, (8) Difficult ex- 
pressions, (9) Allusions and References, (10) Figures of speech, 
(11) Preparation of the lesson by the class, (12) The recita)f:fiOii, 
(13) Articulation, (14) Pronunciation, (15) Grouping of words, 
(16) Interpretation, (17) Position, (18) Breathing, (19) Em- 
phasis, (20) Inflection, (2il) Pauses, (22) Time, Pitch, Quality 
and Force, (23) Imagery, (24) Expression (25) Predominant 
Emotions, (26) Development of Character, (27) The lesson 
taught, (28) Literary Gems, (29) Cultivation of a taste for 
good literature. (30) One thing at a time. 

1. jffetliod, (a) The subject matter should be of such a 
nature as to appeal to the interest of the child and should be 
within the range of his experience, (b) There must be built 
up in the experience of the reader, the same experience that 
the writer had. (c) Interpretation must precede expression. 

(d) Standards and criticisms must be measured by the feel- 
ings and thoughts that prompted the language of the author. 

(e) The methods in primary reading^should deal largely with 
the process of recognizing and giving the names to words, (f) 
The teaching of the use of all new v/ords, should be emphasized. 



2. Selection. It is not advised that lessons be assigned in 
the order in which they occur in the reader. It is best to choose 
such selections as will aid most in realizing the aim of the 
recitation. Some lessons are adapted to certain seasons of the 
year; others provide suitable subject matter for lessons in 
patriotism, morals, nature, truthfulness, kindness, charity, etc. 
Still others may be made to supplement lessons in other studies. 

3. Teiaclier's Prepiaration. The teacher should prepare his 
lesson the day before he assigns it. His preparation should 
anticipate the capabilities of his class and should provide such 
help in the assignment as will arouse the pupils' interest and 
put them in touch with the author and his feelings v/hen he 
wrote the lesson. iHe should become familiar with the lesson 
and should study the needs of his class. Difficulties should be 
removed. 

4. Asisignmeiit. The assignment should include the selec- 
tion, the author, the setting, the new words and difficult ex- 
pressions, the aim of the lesson, the mechanics of reading it, 
the question raised by the lesson, its answer, search questions, 
interpretation, and oral reading by the teacher. The assignment 
should be definite. 

5. The author. The features of the author's life to em- 
phasize are: (1) The interesting things of his private life, (2) 
The environments and forces that shaped his views, (3) The 
incidents and influences that caused him to write the produc- 
tion selected for study, (4) His purpose in writing it and the 
lesson it is designed to teach. 

6. The Setting. The setting has to do with the historical 
events, incidents, personal experience, or views, upon which as 
a basis, the lesson is written. The setting is necessary to an 
understanding of such selections as, "0 Captain! My ICaptain!" 
"Paul (Revere's Ride," "The Rising," and "Old Ironsides." The 
setting should be given as a part of the assignment and should 

©G1.A394221 ^ JAN I9I9|5 M o. 3^^ 



include the situation elements — ^Who? When? Where? and^ Why? 

7. Words. iNew words should be put in appropriate sen- 
tences that illustrate the meaning of the new words in such a 
clear and simple way as to convey the proper meaning and this 
only. The contextual relations of the word must reveal the 
idea for which it stands. The teaching of words includes the 
origin, history, meaning, use, spelling, and pronunciation of the 
word. In this connection, the "dictionary habit" should be form- 
ed. Pupils should be taught how, when, and why, they should 
use a dictionary. The origin of many of our common words Is 
a fascinating study; as breakfast, muslin, nasturtium, infantry, 
candidate, treacle, etc. 

8. Difficnlt Expressions. Many selections contain passages 
too difficult for the average class to understand. In such cases, 
the tea,cher can render helpful services by reading the lesson 
to his class, and then causing his students, by skillful ques- 
tions, to grasp the meaning. Such things as the class can not 
readily get, should be explained and illustrated by the teacher. 
The pupil must understand a lesson before he can read it prop- 
erly. 

9. Alliislons and Eeferenees, Allusions are casual refer- 
ences by the author, to things which the reader is supposed to 
know. Y\^hen the reader does not know tne thing alluded to, 
he loses much of the meaning. The greater our store of 
knowledge of the sources of allusions the greater will be our 
enjoyment of literature. Nothing but a wide range of reading 
will put us in a position to enjoy the meaning and force of 
allusions. The teacher v/ill aid the pupil very much in his in- 
tepretation of a lesson, by explaining the allusions it contains. 

References should be followed and read. The teacher should 
insist on this within certain limitations. 

10. Fl^pes o-f speech. A fi^fure of speech is a d^partJurs 



from the literal way of making statements so as to call up in 
the 'readers mind a figure or an image; as, He is the pillar of 
state. 

The teacher should explain, illustrate, and classify the 
figures in each lesson, until the pupils can do so under direc- 
tion. The force of each figure ishould be shown. Such an 
explanation of each figure must be made as will make clear the 
basis of the figure and bring out its aptness, beauty and force. 

111. Pupils' Pineparaition. (a) The teacher, through the 
lesson assignment, should prepare the minds of the pupils for 
the 'reception of the thought. iHe must state the purpose of the 
lesson and define clearly the work to be done by the pupil. 
The test of a good assignment, is the interest shown by the 
class in the preparation of the lesson, (b) The pupil (1) should 
read the selection through for a general impression, (2) He 
should study the words and difficult phrases, (3) He should 
pick out the allusions and interpret them, (4) He should pick 
out and classify the figures of speech, (5) He should determine 
the questions raised and their answer, (6) He should picture 
the scenes, study the characters, and answer the set questions 
prepared by the teacher, (7) The test of the pupil's preparation 
is his ability to enter into the experience of the author, and by 
his oral reading, cause his hearers to enter into the same ex- 
perience. 

il'2. Tile Recitation should consist of (1) A test of the 
pupils' preparation, (2) An analysis of the lesson as to purpose, 
and plan, (3) A complete interpretation, (4) Oral reading, (5) 
CriticismiS favorable and unfavorable. If the criticism calls at- 
tention to faulty time, movement, force, pitch, or emphasis, the 
proper rendering should be made by the one criticising, who 
should also be required to give reasons for his suggested 
changes. While mistakes in pronuaeiatioia Should be corrected 
in a f-riendly spirit, they should receive less attentioni thaiQ tjiose 



of expression. .Mistakes in emphasis, inflection, force and 
movement, arise from an imperfect interpretation. Interpre- 
tation must precede expiression. The test of good oral reading 
hinges on the question as to whether the reader makes his 
audience understand and feel, what he reads. If so, it is good 
reading; if not, it is faulty. 

13. Articslati^i!. Unless the defects in articulation can be 
traced to physical causes, such as defective organs of speech, 
defective hearing, defective nervous control, etc., regular and 
systematic exercises will bring about clear and distinct articula- 
tion. If the cause of the defect be found in youthfulness, for- 
eign accents, immitatlon of poor articulation, or lack of training 
of the vocal organs, exercises like the following will tend to 
develop distinct articulation. 

1. Trill the letter "r" in many pitches. 

,2. Touch the tip of the tongue to the end of each tooth. 

3. Trill the lips ascending and descending the scale, 

4. Say "gobble-gobble-gobble" ten or fifteen times, 

5. Insert two fingers between the teeth and utter long *^e,*' 
long "o," broad "a'' and long **oo." Hemove the fingers anfl 
repeat. 

6. Pronounce rapidly "ip, it, ik and im." 

7. 'Separate the spoken word into its elementary sounds. 

8. Drill on the sounds with which the pupil has most 
trouble. 

9. Practice on such sentences, as, 

(a) She sells sea shells; do you sell sea shells? 

(b) Sam 'Slick sawed six sleek slender saplings for sale. 

An elegant and distinct articulation is an evidence of cul- 
ture. 

14. Pronnnciatloii. (1) There should be a fifteen minute 
exercise each day in phonics. (2) Teach free breathing and a 



free use of the lips, teetli, tongue, and palate. (3) Teach the 
consonant and the vocal sounds, and the symbols that represent 
them. (4) Teach the name and use of each diacritical mark. 
(5) Teach the habit of referring to the dictionary in case of 
doubt. (6) Explain what is meant by accent. (7) Drill the 
class regularly on the pronunciation of long lists of words mark- 
ed diacritically. (8) Give the class, lists of words to be mark- 
ed diacritically. (9) Give drills on words that are spelled 
alike but pronounced differently. 

"To pronounce a word properly, implies that we enunciate 
correctly all its syllables, articulate distinctly the sounds of its 
letters, and accent properly according to prevailing cultivated 
usage." 

15. Crrouping. By grouping we mean the thinking together 
and the speaking together those words that constitute an idea. 
Sometimes punctuation marks point off the group; as. Weeping 
bitterly, j he left the room. Oftener they do not; as, The in- 
trinsic function of agriculture | is to give information I about 
farm products. 

The first exercise in grouping should consist of short sen- 
tences standing for a single idea. These sentences should be 
read as a unit. Children beginning to read, should be required 
to use the sentence as the mechanical unit. Exercises for 
grouping should be given in all the grades. The teacher should 
write sentences on the board and require the pupils to copy and 
group them. The ability to group properly, indicates thought- 
getting ability. 

il6. Interpretatioiia All reading values depend on inter- 
pretation. It is the duty of the teacher, in the assignment of a 
lesson, to cause his class to know the difficult words and 
passages, the purpose of the lesson, the problems raised, and 
their answer. The teacher must know that the reader has se- 
cured the meaning of tlie selection and that he (has entered 



into the experience of the writer. He is then ready for oral 
reading. Interpretation must precede oral refidtn^. 

17. Position. The pupil should stand firmly on hoth feel, 
with shoulders thrown well back and chin slightly raised. The 
book should be held in the left hand, leaving the right hand free 
to turn leaves or to help in any other way. 

18. BreatJiing". The position described above, is conducive 
to good, deep breathing, and to a full, round, even tone of 
voice. Children should be taught to breathe deeply. Let them 
etand in the position described above and inhale the lungs full 
of air through the nostrils, then hold the breath with mouth 
closed for a few seconds, and expel the breath vigorously through 
the mouth. ^Repeat three or four times. If this and similar 
exercises, be practiced regularly the "getting out of breath" 
so oft€n in evidence, will soon be remedied. Grouping, as 
described above, tends to correct this fault. 

10. Emphasis. If a person reading, does not emphasize the 
proper word, it is because he does not understand what he 1^ 
reading. Lead the pupil into the experience of the writer, then 
emphasis and expression will take care of themselves. Em- 
phasis expresses feeling, and one can not put more feeling into 
his reading than he feels inside. 

Such criticisms as, "You didn't emphasize the right words," 
''Try again and see if you can't put more expression into it," 
are unsound and harmful. The teacher should go over the se- 
lection again to make the meaning clear and to cause the pupil 
to feel more of the spirit of the selection. If this is accom- 
plished, more expression will be found in the reading; the prop- 
er words will be emphasized. 

20. Inflection is a part of expression and expression fol- 
lows interpretation. Good models by the teacher in his oral 
reading are imitated by the class. Those sweet tones of a cul- 



tured voice, those fascinating accents and inilectlons which 
form the most irresistable element of beaut5^ are learned by 
imitation, and are a most impressive index of culture. 

Drills on common place expressions such as salutations. 
formal expressions, school and home language, have intrinsic 
value and tend to carry those niceties of expression into read- 
ing lessons and daily conversations. Many a good-natured, 
cheerful, sociable man has a manner of saying "Good morning" 
that belies his whole nature. Some rogues can greet us so 
sweetly as to gain our perfect confidence. Accent, inflection, 
and emphasis depend on the meaning to be conveyed. Regular 
and systematic drill with clear models in excellence, will insure 
good results. 

21. Pauses are of two kinds; one indicated by punctuation 
marks, the other by "grouping." The former is visible and is a 
part of the printer's art; the latter is invisible, and is a part of 
the reader's art. 

It is useless to tell a pupil to pause here, there, and else- 
where. He will not know where to pause until he understands 
the selection he is reading. Teach the pupil the meaning of 
what he reads, then grouping and pausing will naturally follow. 

22. Tlm«, Pitch, Quality, and Forct^, Time is the rate of 
reading. Pitch is the key of the voice used in reading. Quality 
is the expression of feeling as it changes from thought to 
thought. P'orce is the tone of the voice need in expressing an 
idea or thought. 

That time, that pitch, that quality, that force is best which 
makes the audience feel nearest like the writer felt. The reader 
must first interpret the selection, then enter into the feeling of 
the writer, before he can do justice to these "standards of good 
reading." 

23. Imaferj. The aim of the teacher should be to develop 



in the minds of his pupils the beautiful mental pictures the se- 
lection contains. The pupil should be enabled to see with his 
mind's eye the word pictures of the author. The painted picture 
on canvas flashes before us the fiae drawing, the artistic group- 
ing, the complete and bea.utiful picture. Its lessons can reach 
us through the eye alone. The language picture may include 
many things that can not be put upon canvas; it can touch up 
its picture with odor, taste, and may suggest hidden ideas that a 
picture can not express. The chief value of pictures in text 
books is their aid in im.agery. Have the class describe the 
scenes a.nd pictures in such selections as , "The iSandpipeT," 
"Elegy in a Country iChurchyard," "O Captain! My Captain," 
"The iBurial of Sir John iMoore," *'The -Rainy Day," ''Abou Ben 
Adhem," and "Lines to a Waterfowl." 

The pupil will find pleasure in looking, with his mind's 
eye, at the pictures found in his reading lesson, and in domes- 
ticating them among his own experiences. 

24. Expression is the last and most important act in any 
learning process. Proper expression is the end in view in teach- 
ing oral reading. The voice, the hody, the countenance, all aid 
in expression. Express means to press out, hence we can not 
express what Is not within. In order to secure good expression, 
the teacher must give help in interpretation and must be able 
to read with proper expression. Meaningless criticisms with- 
out proper help to see and understand his error in expression, 
hinder rather than help the pupil. It takes interpi^etatiaii and 
drill to imsnre good expression, 

25. Ein<Jtion. It is not enough that the reader have dis- 
tinct articulation, correct pronunciation, and accurate emphasis. 
He may have all these and yet fail to enter into., and feel the 
beauty, sentiment, and force the writer mteiid.ed, and conse- 
quently fail in communicating these emotions to liis audience- 
The right feeling of the pupils must be aroused. This takes 



Id 

time. The setting well told, a kDOwledge of the events and con- 
ditions that prompted the author to write his thoughts and 
feelings, are of paramount importance. Poems containing emo- 
tions of joy, beauty, action, love, duty, or patriotism, should be 
read to the class and explained. The reader must see, feel, and 
think what the author saw, felt, and thought, before he can 
enter into the spirit of the selection and communicate that spirit 
to others. Time, pitch, quality, and force all depend upon the 
emotional elements. 

26. DerelopMieMt of Character. The selection tells us what 
the characters thought, said, and did; from this the pupils are to 
put an estimate upon what they were. This estimate of the char- 
acter of the persons mentioned in the story, will be aided by 
appropriate questions, such as, — If we know what a person 
thinks and does can we tell what he is? Did the characters 
feel and act in this lesson as you would under similar conditions? 
Bid the author expect you to feel as they did? Were the actions 
of any of them unnatural? What improper emotions were in- 
dulged in? Point out the good and the bad traits of character. 
What would guide an author who is trying to develop a good 
chara,cter in one of the persons in his story? Why should we 
be careful in choosing books to read? 

27. TJie Lesson Tanglit. Every paragraph or book is an- 
swering some question that experience has propounded to the 
author. Tt should be the work of the teacher to uncover the 
problem raised, and help the pupil to solve it. After reading 
"The Pairiy Pay," or the "Psalm of Life," the pupil should feel 
like saying "Yes, he's right." 

2S. Literary freiMS. The illuminating parts of every poem, 
that teaches a great moral, patriotic, or practical lesson, should 
be memorized. These good things of literature when impressed 
"OCt the raind, influence our thoughts, "As a man thinketh in his 
heart, so is he." 



11 

29. A Tiiste tor (iood Literature. Dr. Hall says: "Tie 
school has no right to teach how to read, without doing much 
more than it does now, to direct the taste and confirm the habit 
of reading what is good rather than what is bad." The greatest 
good a teacher can do for his pupil is to establish in him a taste 
for the good things in literature. It is, therefore, much more 
important to teach what to read than how to read. Habit a«- 
termines what we read. A habit for reading the good, can be 
formed as surely as a habit for reading the bad. A teacher can 
cultivate a literary taste by pointir g out the beauties and in- 
teresting things of everything his pupils read under his direction. 
He can give them a taste of good books and whet their appe- 
tite for things pure and good. Books for entertainment must be 
provided. There are many books that have the interest of the 
dime novel without any of its bad qualities. The teacher must 
know the book he recommends, and he must also know his class. 
"It i3 better to inspire the heart with a noble sentiment than lo 
teach the mind a truth of science." This quotation places good- 
ness above knowledge and character above technical training. 
This view is the proper one and should be the guiding star in 
all teaching exercises. 

30. Oho Thing at a Time. This should be the motto in 
teaching reading. While the many details of teaching reading 
described above, should have proper attention, it is neither pos- 
sible nor practicable to emphasize all of them in any one lesson: 
neither does any one lesson contain suitable material for all 
these various elements of reading. If the pupils' attention be 
divided among so many things, they will not remember any dis- 
tinctly. Some lessons are suitable for teaching thought getting; 
some, for emphasis and inflection; some, for imagery; some, for 
Rrcup.rg, some, for the lessons they teach ^.(.c. There must be a 
general aim in the teaching of reading; there must be a special 
aim in each reading lesson, and it must contribute to the gen- 
eral aim. 



(a) 



(b) 



12 

A LESSON JBLA-ia 

Longxeilow's 

Thie Ladider o* St. Augustine. 



Assignment. 


1. 


Selection (The Aim.) 


2. 


The Setting. 


3. 


Words. 


4. 


Allusions. 


5, 


Figures of Speech. 


6. 


Dimcult Passages. 


7. 


Interpretation. 


8. 


Search Questions. 


9. 


Comparisons. 


Recitation. 


1. 


Purpose. 


2. 


Questions. 


3. 


Thought used. 


4. 


Oral reading. 


5. 


Criticism. 


6. ' 


rhe Emiotions. 


7. 


The Lesson. 


8. 


Memorj^ ,Gems. 



With slight modification, this lesson plan can be adapted 
to any poem. 

METHODS OF TEACHING BEGINNERS TO KEAB. 

There are two teaching processes and four recognized meth- 
ods. The processes are synthetic and analytic, — ^the methods are 
A, B, C, phonic, word, and sentence. 

The A B C method and the phonic method are synthetic; the 
word method and the sentence method are analytic. 

The ABC method is well understood and needs no descrlp- 



13 

tion. it is pedagogically uusouiid; it is uninteresting, and waste- 
ful of both time and energy. 

The plionic BietiiOil teaches the sounds of the letters first, 
then the word built up of these sounds and lastly the symbols 
of the sounds — the letters. The words so learned are put into 
familiar sentences. The method is not to be commended, and 
with the exception that it can be made more interesting, is no 
better than the ABC method. 

Tlie Word Metliod begins with the object and leads from 
this to an idea of the object, then the symbol of the idea, — the 
word. Phrases and expressions containing the word are next 
taught then the sentence. The letters are taught incidentally. 

Tlie Seuteiice Tdetliod teaches the learner to read the sen- 
tence as a unit. The sentences used should be those brought 
out by a simple and sympathetic conversation with the pupils 
about some interesting object or picture. These sentences are 
written on the board by the teacher and left there for further 
drill. The pupil will copy the sentences, preferably his own 
sentence from among the list. That this method begins with the 
unit of thought, is its best recommendation. It is hardly prac- 
tical in our country schools, because (1) the teacher has not the 
time: (2) He is compelled to use a text-book. 

Tfee Combiii.ed Metliod. Perhaps the best method of teaching 
reading to beginners, is found by combining the best features 
of the four methods already named. It is admitted that interest 
is the essential feature of every learning process. The child can 
find but little interest in either letter names or letter sounds; 
more interest may be found in words, and especially when they 
are used in sentences that touch the child's experience. Letter 
names and letter sounds must be taught in order that the child 
may be enable.d to decipher new words, but this can be done in- 
cidentally after the child is master of a vocabulary of two or 
three hundred words. 



14 

We should begin tlien with short sentences, such as, "Roll 
the ball," "Play with the dog," "Bring your doll" — sentences that 
appeal to child nature, that arouse interest, that suggest action, 
that make repetitions easy, that aid in grouping, that stimulate 
thought-getting, that taps new feelings of interest, that real- 
izes the aim. The blackboard must be used freely, interesting 
objects and pictures must be provided, and self-consciousnfess 
avoided. New words are taught by associating them with famil- 
iar objects or pictures. The article and its noun should be 
treated as a unit in expression. The words and sentences used 
should be taken from sympathetic conversations with the pupils. 
Concreteness, vitality and interest should characterize the reci- 
tation. The recognition of new words is the new tool to be put 
in the hands of the pupils. 

The child, in learning to talk, uses "word-signs" to repre- 
sent ideas. The teacher must teach him to recognize and ex- 
press the "print-signs" that represent the same ideas. This can 
be done by (1) acquainting the child with the object picture 
or idea, then writing the word or words that represent it on the 
board; (2) Action ideas can be Impressed oy having the pupil 
perform the action and then writing the word or words that ex- 
presses the action. (3) The idea can be recalled in the child's 
mind by questions and sympathetic conversations, then expressed 
in writing on the board. First the idea, second the words, third 
expression. The meanings of new words are learned by infer- 
ence and association. The desire to read must be aroused; the 
need of reading must be felt. The spring of action is made of 
desire and need. 



Part II 



QUESTIONS ANl) ANSWEES. 

In getting- thought from the pi-inted page, "WordB, like window 
panes, are things to look through; not things to look at." 

A book is good when it brings the reader closer to naturft, 
closer to man, or closer to God. A book gives us power when it 
causes us to think. 

"As a man thinketh in his heart, so is he." We should read 
good books that our thoughts be good and pure. 

The boy or girl that has learned to love good literature has a 
liberal education, 

1. Define silent and oral rieading: 

Silent reading is the interpreting to the mind, the thought 
and language elements of the printed page. 

Oral reading is the interpretation and vocal expression of 

VN-ritten or printed discourse. 

2. Wily is reading so Important a study? 

Because the ability to read well is so helpful and so neces- 
sary in the pursuit of other studies, and because reading is "the 
key which admits us to the whole world of thought and fancy." 

3. What ar^ some of tlie duties of the teacher in teaching 
reading to beginners? 

To arouse, clarify, and enlarge the child's mental store that 
his thoughts, facts and ideas may be more definite. To enlarge 
and make practical his vocabulary. The aims should be to teach 
how to read, what to read and to cultivate a taste for the good 
things in literature. The thought-getting process should parallel 
all this work, 

4. What QuaJiScatioiis must a good r^M&s possess? 



16 

(a) Such mental training as will enable him to know and 
feel the thought and sentiment of the writer. 

(b) He must be master of the mechanism of the printed 
page. 

(c) (He should have such vocal training as will enable him 
to convej'' the thought or fancj^ of the composition read. 

'Remark — A child must first learn in order to read, and then 
read in order to learn. 

5. What must l>e a persoH's fi«al!iicatiK)iis m order to read 
Milton or Emerson? 

iHe must possess within himself, somethli.^ of the Mlltonic 
General culture. iHe must read up to this standard. Per- 
sonal observations of nature and a practical knowledge of his- 
tory and sociology. 

7. l^Tiat does reading iiivolTe? 

(a) Recognition of the printed symbols. 

(b) Ability to express them properly. 

(c) An understanding of the things mentioned and de- 
scribed on the printed page. 

feel their emotions. 

6. What is necessary in ordfer that a person enjoy r*ea4ingg 
of literary merit? 

8. Whait the tsIu^ of skill in the mieehainical part, of t&mh 
Ing? 

It tends to make reading a reflex act leaving the mind free 
to grasp the subject matter. 

9. To what extent shonld fixed rnles for reading and for 

©hserTing speelfied **gtops" at pimctiiatlon iniarks he ohs'erred? 
Just to the same extent they should be observed in talking. 
The desired results should be reached by imitation, practice, and 
liabit. runctuatioa marks should be observed by tastinct rather 
than hfy ccmficious effoirt. 



17 

10. Wliat tlie worth of a CGltiTated Toice and power of ex- 
pression? 

A pleasing expression combined with a sweet and gracious 
tone of voice is tlie most irresistable element of beauty and the 
most impressive index of culture. "The mere memory of a voicf* 
which was toned by love and sympathy may continue to be a 
sweet influence long after the voice itself has been hushed in 
death." 

11. Wliy sliould a ciiild know wlsat lie is going t!o reiad about 
before beginning to read a lesson? 

or Emersonian. He must be able to think their thoughts and 
That his interest may be aroused, his attention stimulated. 
the difficulties removed, and that everything necessary to a good 
understanding be explained. He must interpret before he can 
express. 

12. What the Talne of definitions? 

The meaning of words as used in the lesson must be under- 
stood. There is no permanent gain by reciting definitions with- 
out illustrative examples. The ability to use the word defined 
in correct sentences is the final test. 

13. Should qnestioiis on the lesson l>e asked before or after 
the reading exiercise? 

Before the lesson is read, in order to determine how much 
attention the pupils have given the lesson and that the nature 
and scope of the lesson be more fully understood. Such ques- 
tions should be asked as would develop the author's thought 
and feeling. 

14. What ere the vocal or elocutionary elements of reading 
and what the importamce of each? 

They are distinct articulation, deliberation, emphasis, and 
pronunciation. 

Di^tnet articuiation and proper deliberation make reading 



18 

intelligible and entertaining. Emphasis brings out the relative 
importance of words. Correct pronunciation adds charm, cul- 
ture, and force, to the reading. 

15. Wily should ^e read? 

That we may grow, purify our taste, deepen our feelings, 
broaden our sympathies, and enhance our happiness in life. 

16. What should be meiiiorized? Why? 

Only the illuminating parts of the longer lessons, and such 
other gems or extracts as contain form and substance insepar- 
ahly interwoven. The memorizing of suitable material enlarges 
the vocabulary, reveals harmony of thought and expression, 
cultivates taste, and provides a stock of great and good 
thoughts from which much comfort and pleasure can be drawn. 
Things to be memorized should be characterized by truth, beau- 
ty, and living power. 

17. When did readmg as a hrai^ch of study heglu? 

It began with the /Reformation, 1517. This wide spread 
movement made it necessary that the people in general become 
familiar with the Bible. The first reading books contained only 
extracts from the Bible. 

18. What is a good position for a eluld to take rdule read- 
ings before a class? 

He should stand erect, and firmly on both feet, with the 
hook in the left hand, leaving his right hand free to turn leaves 
or otherwise assist. The book should be held about 14 inches 
from his eyes. While he is reading aloud, the rest of the class 
with closed books should sit attentive, 

19. Whut kind of erltleism froai tiie class should be eii- 
eoiiras-ed and irliat kind discouraged? 

Carefully directed criticism should be encouraged. Mistak- 
es in. emphasis or expression should be corrected by iUusiration. 
The kind that sarors of fault-finding or ridicule should be dis- 



19 

couraged. No criticism should be entertained that is not ac- 
companied by the suggested improvement. 

20. I)i>?tiiii;iiisii betiveeii iisi>liig', stp^miiieriiig, Jind stutter- 
ing-. Kow sJjoiiM ciiildren witli these faults he ti'eated? 

Lisping is generally a bad habit that admits of easy correc- 
tion. The child should be taught how the tongue is placed in 
uttering the sound represented by "s." .He should be aided 
privately to utter this sound again and again. Then he should 
practise on such words as tiiose, eeds, saints, and ioatJisome. 

Stajiimeriiig' indicates a difhculty in uttering all sounds. 
Stiitteriiig- is an inability to keep from repeating over and over 
certain stubborn syllables. All the teacher can do in the last 
two cases is to remove the causes of excitement and nervousness 
as far as possible. Concert reading gives temporary relief. 

21. Explain the diffJerenc© between nietliod and device. 

"Method is a rational progress tov/ard a definite end." When 
applied to reading it is a series of properly related steps, acts, 
and devices, based upon fundamental laws of the mind, by which 
the teacher may cause the pupil to learn to read. 

BeTices are schemes or agencies used as aids to method. 
Objects, illustrations, pictures, textbooks, questions, and drills, 
are devices used in teaching reading. 

22. What is tlie value of literary gems? Wlien and tow 
used at scliooi? Wlieii, how and to what piirix^ses can good 
stories fee used? 

(a) No person can absorb a good story or commit to mem- 
ory a literary gem containing a noble thought or an inspiring 
sentiment, without being made better thereby. It is time well 
spent to commit to memory and analyze in thought the popular 
quotations of our great authors. Appropriate quotations from 
classic literature add force to any public address. They can be 



20 

used to answer roll calls, for opening exercises and on special 
occasions to reveal the secret of greatness of the writer. . 

(b) (Good stories may be told as occasion arises, but es- 
pecially as a part of the opening exercises, for entertainment, for 
teaching moral virtues, and as a basis for language work. It 
it good for both teacher and pupils. 

23. What Is classic literature 2 Examples. 

Classic Literature is literature that has stood the test of 
time, and met the approval of mankind. 

'Examples:— The Iliad, Paradise Lost, Merchant of Venice, 
Alexander's Feast, Legend of Sleepy Hollow, Evangeline, Than- 
atopsis, Leather Stocking Tales, The Raven, Each and All, The 
Building of the Ship, The Chambered Nautilus, etc. 

24. WJiait slionld a clillci acqulrie in tlie nrst reader grade? 
In tlie second reader grade? Good stories foir ©acli grad©. 

When a child has completed the first reader, he should 
recognize at sight three or four hundred written or printed 
words and should know how to us.e the majority of them in 
correct sentence. :He should be able to spell and write two 
hundred of the words he can recognize. He should be able to 
write and read all the numbers to 1000 and should have the 
tables learned to the 6's. He should have had work in drawing, 
hand work, nature study, and memorizing. 

When a child has completed the second reader, he should 
recognize at sight about five hundred words and should be able 
to write and spell two thirds of them. He should be able to use 
the majority of them in correct sentences. He should know 
all the tables to the 12's. He should be able to add numbers in 
columns of four or five figures, to subtract, and to divide and 
multiply. 

He should be able to tell many short stories such as Red 
Riding Hood, The Three Bears, Jack and the Bean Stalk, and 
other fairy stories and fables. He should be able to reproduce 



31 

short stories in writing in fairly good Englisii. He should 
know how to draw and sing and tell good stories. 

25. How can coinposition work be coiiibined witSi reading? 
Wiiajt tlie relation between the two? Wliea are the tlio^gkt« of 
aROtker of worth to us 2 

Reading and Composition. — ^A reading lesson is but a word 
picture of the thoughts of another; a composition is a word 
picture of our own thoughts. No matter how logically or sidll- 
fully presented, the thoughts of another are of no worth to us 
only as they cause us to think. The reading lesson then, by its 
suggestive story, by the picture it presents as a whole, by the 
opportunities it affords for condensing, paraphrasing, para- 
graphing, punctuating and capitalizing may be easily and pro- 
fitably combined with composition work. 

2Q. When and how oan the teaching" ot niiorals aind nianaers 
be combined with the reading lesson? 

The Reading Lesson Combined with Good Morals and G^od 

Manners, — The contentment, the happiness, the certain reward 
that follows ail moral and mannerly acts, and the embarrass- 
ments, the pain, the disgrace, and the failure, that follow im- 
moral and rude acts may be entertainingly and profitably point- 
ed out as presented in the lesson. Parallel stories involving 
similar traits may be. read or told with both profit and pleasure. 
By the precepts that the lesson teaches or suggests, the pupils 
may be led to imitate the good and shun the evil and uncivil. 

27. SCHOOL LIBHAEIES. liiterost, necessary funds, se- 
lectlon^ kind of bo'oks, book case, managiement, times and mles of 
dls'tribntion. 

The advantages of a school library must be well understood 
by the teacher. He should not know only the kind of books to 
be purchased but how to use them. He should avail himself of 
every opportunity to talk to the pupils and patrons of the needs 
of a good library and never close until a liberal sentiment is 



2/Z 

created for it, then the raising of the necessary funds is an easy 
matter. As a rule, no book that does not supplement the text 
hooks, should be purchased. Books from which the pupils can 
not get help or inspiration in their studies should not be found 
in any school library. A good book case should be provided and 
a competent librarian selected. 

The librarian should keep an account of every book taken' 
out, the person taking the book, the date it is taken and the 
date it is returned. There should be a fixed time within which 
all hooks should be returned and a proper penalty for keeping 
books over time. iBooks may be taken any time during school 
hours for reference and to supplement the text. 

The following books are recommended because they tend to 
cultivate a taste for good literature, or aid in the development 
of a positive moral character: Alice in V/onderland, Evangeline, 
Mother Goose Melodies, The Little Lame Prince, Our Shy Neigh- 
bors, King of the G-olden River, Hawthorne's Wonder Book, 
Baldwin's Abraham Lincoln, Old Stories of the East, Little Men, 
Little Women, Redemption of David Carson, Friends in Feathers 
and Fur, Autobiography of Benjamin Franklin, The Virginians, 
Merchant of Venice, Great Americans for Little Americans, Coop- 
er's The Spy, Black Beauty, Dole's American Citizen. 

(See graded list prepared by the State Superintendent of 
Schools.) 

28. €rive some plans to train in silent reading:. 

(a) Write sentences on the board that the children are to 
read and perform; as, "Bring me your book, John," ""Do you 
see that bean bag on the floor?" "Hand it to James, Susan." etc. 

(b) Provide reading matter that is of interest and that 
contain ideas of present value to the reader. 

(c) Have the pupil read a few sentences and then explain 
what he r»ad. 



23 

(d) (Have the pupils to recite the lesson as a whole or bv 
parts, before reading it in class. 

(e) Have the pupils write the answers to written questions. 

(f) Have the pupils recite orally, a paragraph read silently. 

29. >an^e the iiVateriaJs for tUie first reader lesson. 

The material for the first reading lesson are black-board, 
chalk, pictures, familiar objects, stories about pets and games. 
Later, myths and poetry should be introduced. 

30. What is the propter t^est of a reading lesson? 

The proper test of a reading lesson is the pupil's ability to 
read, and understand, and express properly the printed language 
of the lesson. 

31. \aiue some exercises gKK>d to iniprore articulation. 

The slow and distinct pronunciation of the words of a para- 
graph, the enunciation of the vocal sounds singly and in com- 
bination, and the phonetic spelling, of words, are good exercises 
to secure distinct articulation. (See question 68.) 

32. Wha;t things should receive most attentioii in the pri- 
mary gi-adeis ? In the inter medjate and upper grades ? 

In the primary grades, more attention should be given to 
the recognition of words than to expression. In advanced 
grades, most attention should be given to expression and inter- 
pretation. The acquisition of good language should be empha- 
sized in all the grades. 

33. €rive the pnrpojses or values of Concert, Dialogue, and 
Dialect reading. 

Concert reading has little to commend it. It may be used 
to advantage in drill w-ork but the indifferent, idle, or poor read- 
er mav hide his faults and mistakes, during this plan of reading. 

Dialogue reading cultivates the power of expression, aids in 



24 

the removal of self-consciousness, and develops conversa.tional 
powers. 

Dialect reading cultivates effect in expression, acuteness in 
imagination, imitation and observation, and the ability to read 
and talk without embarassment. 

34. Of what rahie are pictures in teacliiiig readiiig? 

Pictures form the basis for Interesting work in composition. 
The pictures in the text books add life and interest to the sub- 
ject matter of a reading lesson if the pupils are led to observe 
them. A proper study of pictures strengthens the powers of 
observation, and develops an appreciation of the beautiful. 

35. Of what should a first mader liession conisist? 

A first reader lesson should consist of sight reading, the 
recognition of new words, not much attention to the subject 
matter but more to emphasis and to the eye vocabulary. 

36. When amd hfow should a dictionary be used? Name 
six things that may be learned from the ufee of a dlotioinary. 

The use of a dictionary begins with the fourth reader and 
never ceases. From the fourth reader on, the leading objects to 
be acquired are the ability to understand what is read and to 
develop taste for good reading matter. The etymology, spell- 
ing, pronunciation, meaning, parts of speech and uses of words. 

The fifth reader class should be drilled in expression, decla- 
mations, dialect reading, paraphrasing, emphasis, inflection, and 
reproduction of the lesson read. 

37. How may w«iak voices be strengthened and unnatural 
touies corrected? 

Weak voices may be strengthened by regular drilling in 
the vocal sounds under favorable conditions as to position and 
surroundings. The lungs, abdomen, and intercostal muscles 
must be ex^ercised regularly in deep breathings, and the enuncia- 



25 

tion of the elementary sounds. Have the pupil to read to the 
ear most remote. 

38. GiTie cause and remedy of the sing song tone. 

The singsong tone is a result of teaching reading by the A, 
B, C method and indicates that the reader does not well under- 
stand what is read. He needs help to interpret the lesson and 
drill in grouping and in the recognition of words. 

39. Wliat referelnce books slioiuld he nsied? WMt the use 
of grainniatical and rhetoridal pausies? 

Dictionaries, histories and biographies should be used as 
reference books in teaching advanced classes in reading. Other 
materials are pictures, objects, and blacTfooard and chalk for 
drawings. 

Grammatical pauses are intended to make the meaning 
clear. Rhetorical pauses are used for emphasis and force. 

40. What tlie naiue of myths, labfes and fairy stories? 
Why should the teachicr he falmiliar witl th©ni? 

A teacher should be familiar with myths, fables, and fairy 
stories that he may exercise skill in presenting them to the 
class, to the end that proper lessons may be inferred and that a 
taste for history may be developed. The age of myths and fairy 
stories is the childhood of the human race. Hawthorne's Wonder 
Book, Four old Greeks, and Guerber's Myths are excellent. 

41. Should pupils correct each other's mistakes? What? 
H<yw? 

Pupils should under certain restrictions, correct each other's 
mistakes in reading that attention be maintained by all the class. 
Corrections made in such a manner as to cause ill feeling should 
be skillfully avoided. Pupils must be made to understand that 
criticism, means a judgment, not fault-finding. 

Mistakes in emphasis and mistakes in inflection should be 
corrected and illustrated as well as mistakes in pronunciation. 



2« 

42. Vihnt is the most Imporitaiit l)raneli in the course of 
study? Why? 

In the course of study, reading is preeminently the most 
important branch. iNfo other study can be pursued without the 
ability to read. No other study is the means of so much plea- 
sure. 

43. HoTV should liessoiis in (the seeoind and third readers be 
assigned? 

In assigning new lessons to a class in the second or third 
readers, the teacher should explain the lesson, point out and 
define the difficult words, and state accurately just what his 
class is expected to do. 

44. HoTT should lessaus in the fourth or fifth reader }w 
assigned? 

In assigning a lesson in the fourth or fifth reader, the 
teacher should give such help as would lead the pupils to cor- 
rectly read and interpret difficult passages, and secure natural- 
ness of expression. Such suggestions and directions as would 
cause the pupils to learn the spelling, pronunciation, and mean- 
ing of the new words found in the lesson should be given. The 
teacher should read parts of each lesson to give examples of 
what was expected in the way of expression, and emphasis. 
Supplementary readings should be assigned when practicable, 
and the composition work and grammar, correlated with the 
reading lesson. 

45. 'Same and give uses of the punctuation marks. 

Comma, semicolon, colon, period, exclamation point, interro- 
gation point, quotation marks, parenthesis and dash. 

Marks of punctuation make the composition readable and 
the sense clearer. 

46. How can naturalness oif expression be culthated? 

iNaturalness of e:3^pression is cultivated by withdrawing at- 



27 

tention irom the mechanical part of reading and emphasizing 
the practical part, the ability to grasp the author's thought and 
share the author's feeling. 

Drills in sentence reading and paragraph reading until a 
degree of perfection is reached in expression and emphasis, are 
to be recommended. Exercises in reproducing orally the les- 
sons read, insure good results. By naturalness of expression Is 
meant the ability to read in the same tone of voice and with the 
same emphasis and style of expression as when talking or tell- 
ing. 

47. Row can rapidity of inoveiiieut be govenied? 

The rapidity of movement in oral as well as silent reading 
should be governed by the ease or by the difficulty, with which 
the full force of the author's thought may be fully perceived and 
felt. Narration, description, poetry, exposition, didactics, pathos, 
oratory, and argument are varieties of discourse that require as 
many varieties of movement. 

48. Why should children be tauglKt to read? 

In order that they may get knowledge, inspiration, pleasure, 
and help from the printed page. 

49. What hooks mrt g^od for sni>i)I«iiieiitJiry reading In th« 
primary p*ades? 

In the lower grades much supplementary reading can be 
used to advantage. As soon as a pupil can understand what he 
reads he v/ill enjoy stories adapted to his degree of advance- 
ment. 

The Hiawatha Primer, Williams First Supplementary .Read- 
er, Book of Tales, and iMother Goose Melodies will prove inter- 
esting and profitable. Many good stories should be read by the 
teacher. 

50. How may new wk>rd,s he taught t30 pupils? 

New words may be taught to pupils by associating- them 



28 

with familiar objects in sentences. A pupil ready for the second 
reader should have acquired the ability to learn new words 
without aid from any one. New words should be used in sen- 
tences that make their meanings clear. 

51. Wiiat th€ eyil effects of reading bad literature? Wkat 
is tJie greatest thing a teacher can do for his pupil? 

If a person acquires a habit of reading cheap, trashy litera- 
ture, he not only creates a taste for such literature but a dis- 
like for good literature or any reading matter except the excite- 
ing and sensational. The greatest good a teacher can do h^r 
pupil is to create in him a love for the best that is to be found 
In the worlds best literature. 

52. Kame some good books of (a) travel and (to) adventure. 

(a) "Views Afoot," (Taylor). "Innocents Abroad," (Mark 
Twain). "Geographical Readers," ((Carpenter). "Two Years Be- 
fore the Mast" (Oana.) (b) "Oregon Train," (Parkman.) "Four 
Pioneers." (Baldwin.) "With Wolfe in Canada," (Henty.) "Life 
of David Crockett," "Life of Daniel Boone." "In Darkest Af- 
rica," (Stanley.) 

53. Wliat wouM you coinsider a goiod aissigoment? 

One that gives the help necessary to a correct interpreta- 
tion of the lesson; that explains the difficult v/ords and pass- 
ages; that prepares the pupils' minds for the reception of the 
nev/ truths and that puts the class to work with interest. 

64, Wliat do yjou coaisi^r goiod oiral reading? 

That which gives to the audience the feelings, and thoughts 
of the writer. 

55. Wliat fio yiou consider good silent reiading? 

Silent reading is good when the reiader gets the feelings, 
thoughts, and emotions of the writer. 

56. Wliat seat vFork would you give? 



(1) Have the pupils write the lesson from memory 

(2) Have them draw, or paint pictures illustrating the 
lesson. 

(3) The words of two and of three syllables may be put in 
columns. 

(4) Advanced classes should follow the directions given In 
the assignment. 

(5) Primary pupils may write the lesson, and form sen- 
tences from miscellaneous words. 

57. How should jou treat aUusions and references? 

I would explain the essential features of the thing alluded 
to and would read or put in reach of the pupil, the references. 

Example — ^Tl^^ebster said: "If I am gifted with but little of 
the spirit that is said to raise mortals to the skies, I trust I 
have none of that other ;spirit which will drag an angel down." 
To explain this statement I should read, or tell the story of 
"Alexander's Feast.' 

58. Wlien, why aaid liow, should phonics and the use of 
diacritical marks he tanght? 

(a) From the first to the fourth grade. 

(b) To aid in deciphering new words and to help in the 
intelligent use of a dictionary. The enunciating and marking of 
the elementary sounds aid in improving the articulation. 

(c) (1) I spell words phonically and have pupils pronounce 
them. , 

(2) I use imperative sentences and spell the leading- 
words by sounds; as, John, bring me the b-oo-k. 

(3) I have the pupils repeat after me the elementary 
sounds of simple words, and have them spell words phonically. 

(4) I teach and mark the sounds of the vowels and 
consonants. 

59. How TTonld jion use supplementary readfers? Why 
should they he used? 



30 

(a) After a few pages of tlie adopted text-book have been 
read, the same number of pages should be read from one or 
more supplementary readers, and so continued until all have 
been read through to the end. Supplementary reading must be 
regular to get results. 

(b) To maintain interest and secure greater proficiency in 
word-recognition, pronunciation, and thought-getting. It takes 
much easy reading to make reading easy to young learners. 

60. MMiy in it better to gii^e the first reading lesgous fraiu 
the blackboard than from the chai't? 

(1) It affords better facilities for drill. 

(2) It makes it easier to adapt the teaching to environments 
and to tap the ideas of local interest. 

(3) It provides more flexibility in methods and subject mat- 
ter. 

61. What would you do to train a child wlio says, "Thith ith 
Thirthie." 

I would give him some exercise to develoij the flexibility of 
the tongue. I would teach him how to hold his tongue when 
uttering the sound of s initial. I would drill him on the hissing 
sounds first singly then in combination. 

62. What is the first essential io obtaining thought from the 
printed page 2 

A recognition of the words used by the author and a clear 
understanding of their meaning. 

63. What would you do to encourage home Heading? 

Call attention to and arouse an interest in suitable books. 
Select such books as will likely interest the individual pupil you 
are dealing with. Pick short stories at first that are full of 
interest and of good material. Ask your class to read certain 
books for you as a special favor, and get their opinions of the 
stories read. Talk good books every day and get the parents 



^1 

interested as well as the children. Organize a reading circle and 
provide a magazine table. 

64. What are allusions J 

They are casual references by the author to things the 
reader is assumed to understand. Example: The sentence has 
been passed: mene, mene. 

65. What should he done in a«8 lining Liuooln's (xe*t}isburg 
address as a reading lesson? 

1. It should 1)6 assigned just after the battle of 'Gettysburg 
has been studied. 

2. Description of the place and position of the vast armies 
should be given. 

(3) The decisiveness of the battle should be pointed out. 

(4) The occasion for the address should be given. 

(5) Difficulties should be removed and the lesson read 
orally by the teacher. 

66. What is nie^nt hy the mechanics of reading? 

The elements of expression such as articulation, pronuncia- 
tion, grouping, emphasis, time, pitch, quality and force. 

67. What are the canses of defectlYe articnlation ? 

Physical defects, imitation of poor articulation, youthfulness, 
foreign language, environments, 

68. How may defectlYe articulajtion be connected? 

(1) By drills that will secure greater flexibility of the 
organs of speech. 

(2) Select sounds with wdiich most trouble is found, then 
show the class how to hold the tongue for each particular 
sound. Drill on the sounds of "th" aspirate and "th'* subvocal, 
s, T, **wh,»' **sh,» "ing," and "ng." 

(3) Construct sentences for drill that have alliterations of 
these sounds; as, Susie Simpson sold seven sack strings. 



32 

69. What regulates time in reading? 

Correct interpretation, and a development of the emotional 
element. 

Time, pitch, quality, and force, all depend on these things. 

70. How sliOQld the time of a rctading recitaitioii he diYid,ed? 

Different lessons require different divisions. The following 
points, however, should have attention in every recitation: (1) 
Questioning the class, (2) Tests as to meaning and pronuncia- 
tion of words, (3) Oral reading and criticisms, (4) Assignment 
of the next lesson. 

71. What things hindier good expression? 

(1) The free use of the organs of speech, (2) The use of a 
book, (3) The mood of the pupil, (4) The school tone, (5) A 
failure to get the thought of the selection read. 

The cause should be determined and corrections should be 
based on the cause. 

72. How can the teacher aid in interpmta^tilon? 

By oral reading, by locating the central Idea, by questions, 
and by comm.ent. 

73. What class of stories w^ould you suggest for persons who 
hare not acquired the reading habit? 

Narrative stories of fiction. Stories of adventure, 

74. What is uieaiit by the pk)t? Give one. 

(a) The leading incidents which form the outline of a story. 

(b) Story: The Lost Biamjond. 

(1) The ice man delivers ice. 

(2) The servant hands him an envelope supposed to 
contain a dime. 

(3) The diamond is missed. 

(4) The police are called. 



33 

(5) The ic« mau is put in prison. 

(6) The dime is found. 

(7) The ice man is released. 

75. When is the class ready for oral reaidin^f 

When all obstacles to expression have been removed. 

76. Name s^reral pottriotiic poems? 

"America," "Paul Revere's Ride," "Old Ironsides," "The Ris- 
ing," Captain! (My Captain!" "The Blue and the Gray." 

77. Mention some good potems on nature. 

"Barefoot Boy," "To a Waterfowl," "Daffodils," "Thanatop- 
sis," "A Forest Hymn," "Snow Bound," and "The iRhodora." 

78. Wliat traits of childhood can wfe appi8(ai to in the teach- 
ing of reading? 

(a) His desire for activity, (b) His love for the story, (c) 
His power of imitation. 

79. Kow does the teaching of reading to primary classes 
and to advaaced classes differ? 

In the former, the mechanics of reading should be emphasiz- 
ed; in the latter, thought-getting and literary taste. 

80. Whait s>£ist work should he giren first year pupils? 

The W'ords they have learned should be printed on evenly 
sized pieces of paper. These they should arrange into sentences 
of their own making. 

They should illustrate witn pencil or crayon what they have 
read. ^ -i 

81. Kame some special values of pictures in clfliSses ahoy© 
the first grade. 

They aid in mental imagery, in developing power of obser- 
vation, in thought-getting, and can be used in getting the pupils 
to think and talk freely about the lesson. 



31 

82. Ihenorihe a metliod to !nemori»e a im)«iu, 

(1) Get the meaning. 

(2) Get the plan. 

(3) Get the story. 

(4) iRead the whole ]>oom over and over until it is mem- 
orized. 

S3. TVhat is nieiaut by si^ht reading] 

It is reading without previous study or preparation. Much 
of our reading must be sight reading. Skill in this kind of 
reading depends upon intelligent practice. 

84. TVliat is the lalue of "diill'» in teaching reading] 

In no other study has it greater value. Clear tones, and 
distinct articulation depend on regular drill in uttering the vo- 
cal and consonant sounds, singly and in combination. The nice- 
ties of emphasis, inflection, and expression, result from drill un- 
der competent guidances. Our best experiences in every phase 
of reading, must function as habit. The price of improvement 
.s drill. 

85. Give diiiectiions for using tlie dictioiiarj in tlie fifth 
grade. 

(1) I would teach them what it contains and how to find it. 

(2) I would show the value of the various appendixes. 

(3) I would show him that while one word has several 
meanings, only one meaning will take the place of the word in 
the text. 

(4) I would have my pupils refer to the dictionary for 
spelling, pronunciation, meaning, and use of words. 

86. Show how the teacher can improre the eiieryday si^cfech 
ot the pupils through the readiug lesson. 

In the primary grades. I would work those words into the 
reading lesson, in the use of which the pupils make mi&takes. 
I have them repeat the correct forms until this use becomes 



S5 

habitual. The past tense of see, do, take, catch, know, eat, and 
bring, belong to the class needing attention. 

I would point out the correct forms found in the reading 
lesson and drill on their use. 1 should correct their mistakes 
gently. 

I would have them commit choice bits of literature to aid in 
learning the use of good English. 

^7. WLiit are tiie essentials of the mtytliod of teacliiug read- 
ings ivt l)egiuiiei*sJ 

(1) All subject matter should touch the experience of the 
child. 

(2) Words, groups of words containing a single idea, and 
sentences, should be taught as a unit. 

(3) ^'ew words should represent familiar ideas or should 
be closely akin to them. The ideas should be brought into the 
childs mind and then the printed forms that represent them 
should be taught. 

(4) Grouping must receive attention that the separate 
sounds may be learned so the pupil will be enabled to apply these 
sounds in deciphering new words. Example: the word "mother" 
should be separated into m-oth-er that the component sounds 
will be recognized. 

(5) Imitation, repetition, drill. 

(6) The teacher should create a desire and show the need 
for reading. 

88. IVhat is meaut hj drsiiiiatiziug a lesson? 

^Making a play out of it so that it may be acted. Dramatizing 
aids in interpreting and appreciating a story. It should be 
practiced in all the grades. 

89. B) what time sliould the nKechuiiieal elements of reading 
he mastered? 

By the end of the fourth year. The mechanics of reading 



36 

should be emphasized the first four years but thought-getting 
and the development of literary taste should not be neglected. 
During the remaining five years, the literary and practical phases 
oP reading should receive most attention. During this period, 
the emotions should be stimulated, the imagination and power 
of observation developed, the sense of appreciation made more 
acute, and the ability to tell what has been read, pleasingly and 
intelligently, improved. The Fifth Header introduces a new 
phase of the teaching of reading and requires a readjustment of 
methods. 

90. Wtsat use would you make of a lesi^on that has Wm 
studied and readl 

(1) It may be made the basis of a language lesson. (2) 
It may be memorized. (3) It can be alluded to in explaining 
other lessons. (4) It may be associated with incidents in 
school life. (5) Its lessons may often be recalled. This would 
be called the application of the lesson. No lesson is ever learn- 
ed until it is lived. 

91. Niamie the four phases of the leading ?essoii in the ad- 
vanced grades. 

(1) Assignment. 02) Preparation of the lesson by the 
class. (3) The Recitation. (4) Application. 



Part III 

[1] AMERICAN AUTHORS 

CoIonM Writers. 

Mrs. Anne Bradstreetj poet; Cotton Mather, essayist; Jon- 
athan Edwards, metaphysician; and Benjamin Franklin, jour- 
nalist and essayist, are among the most prominent writers. 

Mather wrote "Essays to do good," and "Wonders of the 
Invisible World." 

•Edward's "Freedom of the will" is considered one of the 
profoundest metaphysical works ever written. 

Franklin's fame as a man of letters rests chiefly on his 
Autobiography yet his moral, political and philosophical essays 
are literary works of merit. 

His wise sayings known as "Poor \Richard's Maxims" are as 
known as the Proverbs of Solomon. 

THE NEW YOEK OROUP. 

Irving, Cooper, Bryant, Halleck and Drake. 

Washington Irving (1783-1 859) was one of America's most 
charming writers. His short stories are unsurpassed. He 
wrote: "The Sketch Book," "Knickerbocker's History of New 
York," "The Alhambra," and "Life of Washington.'' .He died 
at Bunnyside, his home on the Hudson. 

Remark— Quotations from each author follows his biography. 



3S 

Little minds are tamed and subdued by misfortune, but 
great ones rise above it. 

How truly is a kind heart a fountain of giaanebs, s«.iaking 
everything in its vicinity to freshen into smiles! 

James Fenimore Cooper (1789-1851) was the greatest Amer- 
ican novelist. iHe served six years in the navy, returned, and 
settled down to a literary life at Ostego Hall, his home in the 
backwoods of New York. His "Leather Stocking Tales" "The Spy" 
and "Sea Tales" have been translated into all the modern 
languages and are as popular in Europe as America. 

IVilliaiii Culkii Bryant (1794-1878) The father of American 
poetry was a native of Massachusetts but lived and died in New 
York. Like Wordsworth, he was a poet of nature but surpassed 
him in dignity of style and purity of diction. At the age of 
eighteen he v.'rote "Thanatopsis" which established his reputa- 
tion. Other poems followed. Among them, "Lines to a Water 
Fowl," "Planting of the Apple-tree,' '"Death of the Flowers," 
"Sella," and "The Flood of Years." Bryant was a journalist 
and orator, as well as poet. 

Truth, crushed to earth shall rise again; 

The eternal years of God are her's; 
iBut Error, wounded, writhes in pain, 

And dies amid his worshipers. 

Fitz Greene Halleck (1790-1867) was a native of Connecticut 
but lived in New York. He and Joseph Rodman Drake (1795- 
1820) joined forces in writing poetry over the signature of 
Croaker & Co. Drake's best known poem is "The American 
Flag." 

Hallack wrote "Marco Bozzaris," "Elegy on Drake," "Red 
Jacket," "Wyoming," and other poems: 

Green be the turf above thee, 
'Friend of my better daj^s! 



39 

None knew tliee but to love thee, 
None named thee but to praise. 
—On Death of Drake. 
(Read "Marco Bozzaris.") 

Note that all of the New York group were born between the 
years 1783 and 1795 inclusive. None of this group were college 
graduates yet all were well educated. 

NEW ENGLAND GROUP. 

Emerson, Hawthorne, Longfellow, Whittier, Holmes, Thor- 
eau, Lowell, Parkman. 

Salph Waldo Emerson (1803-1882) was an American poet, 
essayist, and lecturer. No other American has given so much In 
the way of inspiration nor has any one exerted a greater in- 
fluence upon American life. He was the central figure in the 
movement known as "Transcendentalism." He wrote: "The 
American Scholar," "Representative Men," "Concord Fight," "So- 
ciety and Solitude," "Each and All," and "Voluntaries." He 
was born in Boston and died at Concord. 

So nigh is grandeur to our dust. 

So near is God to man. 
When Duty whispers low, Tlion must, 

The youth replies, I can, 

Nathaniel Ha-wthorne (1804-1864) is America's most var- 
iously accomplished writer of fiction. His home "The Wayside 
Inn," was near Emerson's at Concord, He was a classmate of 
Longfellow and President Pierce. "The Scarlet Letter" is his 
most popular novel. "Mosses from an old Manse," "House of 
Seven Gables," "Wonder Book," "Marble Faun," and "Tangle- 
wood Tales," are other works of great merit. 

Henry Wadswbrtli Longfellow (1807-1882) is America's most 
popular poet. He was a native of Maine, graduated at Bowdoin 



iO 

College, and was professor of modern languages at Harvard. 
His liome tlie ''Craigie House" at Cambridge, was Gen. Wash- 
ington's old headquarters. The following poems written by him 
are favorites everywhere: "Psalm of Life," "The Bridge," "Foot- 
steps of Angels," "The Village Blacksmith," "The Skeleton lu 
Armor," "The Beleaguered City," "The Reaper and the Flow- 
ers." His fame as an author rests on his three longer poems: 
"Hiawatha," "Evangeline," and "Courtship of Miles Standish," 
He was a lover of children. He m'ade the (Statement that the 
best loved of his treasures gathered from the world over was 
the armchair given to him by the Cambridge school children 
and made from the wood of the "Spreading Chestnut Tree" 
mentioned in "Village Blacksmith." His thanks were expressed 
to the children in the beautiful poem entitled "From My Arm- 
chair.". Longfellow's style is simple, sincere, chaste, and 
scholarly. 

The heights by great men reached and kept 

Were not attained by sudden flight; 
But they, while their companions slept. 

Were toiling upward in the night. 

Lives of great men all remind us, 
We can make our lives sublime, 

And, departing, leave behind us 
Footprints on the sands of timt. 

Jolin Gr^eiileaf Wliittier (180'7-189-2) was the poet of nature 
and country' life. He v/as of Quaker parents, educated in the 
public schools of his native village, Haverhill, Mass. He Is the 
only writer of the New England Group that was not a college 
•graduate. "Snow Bound" his masterpiece, is a charming picture 
of home life on a New England farm. Kis "Songs of Labor," 
"Maud Muller," "The B^arefoot Boy," "Tent on the Beach," "Tell- 
ing the Bees," and "Angels of Buena Vista," are poems exhibit- 
ing poetic genius of a high order. 



41 

The riches of the commonwealth 
Are free, strong minds and hearts of health; 

And more to her than gold or grain, 
The cunning hand and cultured brain. 

OliTer VVesii-xili Koluies (1809-1894) was a versatile writer 
of prose, a humorist, lecturer, and poet. The "Autocrat of the 
Breakfast Table," "Elsie Venner" and "Over the Teacup," are 
representative of his prose writings, "The Boys," "The Cham- 
bered Nautilus," "Dorothy Q." "Old Ironsides," "One Koss 
Shay" and "The Last Leaf," are among his best known poems. 

Build thee more stately mansions, my soul, 

As the swift seasons roll! 

Leave thy low vaulted past! 
Let each nev/ temple nobler than the last, 

Shut thee from heaven with a dome more vast, 

Till thou at length art free. 
Leaving thine outgrown shell by life's unresting sea! 

— ^Prom Chambered Nautilus. 

Apologv' is only egotism wrong side out. 'Nine times out of 
ten the first thing a man's companions know of his short com- 
ings is from his apology. 

James Sussell Lowfcll (1819-1891) is well known as a critic, 
poet, prose writer, and diplomat. He was Ambassador of the 
U. S. to Spain and later to England. His home "lElmwood," was 
at Cambridge. He wrote "Fable for Critics," "Vision of Sir 
Launfal," "Commemoration Ode," "Under the Y/iliows" and the 
"(Bigelow Papers." His leading prose works are "Among My 
Books" and "My Study Window." His prose works are in the 
main, criticisms of the great poets, Danite, Spencer, Shakes- 
peare, Milton, Wordsworth, and Dryden. He was one of our 
naost brilliant and forcible writers. As a critic, he takes high 
rank. 



42 

And what is so rare as a day in June? 

Then, if ever, come perfect days; 
Then Heaven tries earth if it be in tune, 
And over it softly her warm ear lays. 
— Sir Launfal. 
Truth forever on ithe scaffold, wrong forever on the throne; 
Yet that scaffold sways the future, and behind the dim unknown, 
Standeth God within the shadow, keeping watch above his own. 
rimncis Farkiiiaii (1823-1839) was a graduate of Harvard 
and a historian and prose writer of note. He traveled exten- 
sively in the far west and made himself familiar with everything 
pertaining to the settlements in the west and northwest. He 
wrote the "Oregon Trail," and "France and England in the New 
World," the latter in seven volumes. This is an authentic his- 
tory of the struggle of the French and English for supremacy in 
.Xcath America. No better history has been written. 

OTHEU WEITERS. 

Edgar Allen Foe (1809-1849) was perhaps the most gifted 
of American poets. He was lacking only in character. He en- 
tered the University of Virginia but on account of gambling 
was taken out of that institution. Hte later received am appoint- 
nient as a cadet at West Point but was soon expelled for dis- 
obedience. "The fall of the House of Ushur," "The Oold Bug" 
and "The murders of Rue Morgue" are among his best prose 
»works. "The iBaven," "The Bells," "Anabel Lee," and "Ulaiume" 
are poems of the hig-hest standard artistically. In Europe, Poe 
is recognized as one of our ablest poets. Strong drink ruined 
him. Perhaps the mt>st redeeming feature of his character was 
the untiring devotion and tender care shown his wife during her 
last sickness of consumption. 

Sidney Lanier (1824-1881) was a southern poet, and writer 
of note. H'e wrote, "My Springs," "Corn," "Sunrise," "Tiger 
Llliies," and "The science of Emglish Verse." 



43 

Mrs. Helen Hunt Jackson (1831-1885) wrote "Ramona" a 
sympathetic storj'- of the American Indian, and many poems. 
The best are: "Thought," "'Hesurgam,'' and "The Zone of Calms." 

Alice Cary (1820-1871) w^as America's most renowned poetess. 
Among iher prose works are "Clovernook" and "Married, not 
Mated." Her most popular poems are "Pictures of Memory," 
"An order for a Picture," "The poet to the Painter," and "Thanks- 
giving." 

J, 0. Holland (1819-1881) wrote "Sevenoaks," "Artliur Bonni- 
castle" and "Gold Foil," He 'also achieved success 'as a poet, 
"Bitter Sweet" perhaps having most merit. 

LITERARY WE^ AT THE BEGI]S3«(IH0 OF THE TWENTIETH 

CENTUEY. 

William Dean Howels (1837 — ) is a native of Belmont Coun- 
ty, Ohio. He is a critic and novelist. He wrote "The Pilot's 
Story," "Their Wedding Journey," "A chance Acquaintance," 
"A Woman's Reason," und many other stories. 

Samuel L. Clemens, (Mark Twain) (1835-1910) was a native 
of 'Missouri. He was the most popular humorist of modern 
times. He was a forcible writer and a man of genius. "Inno- 
cents Abroad" and "[Roughing It," ©stahlished his reputation. 
"Tom Sawyer," "Huckleberry Finn," "A Yankee in King Ar- 
thurs Court," "Following the Equator," and m'any other works 
of merit are from his pen. 

Joel Chandler Harris (1846-190'9) was a southern journalist 
and author. His portrayal of the folk lore, humor, pathos, and 
traits of the plantation negro servants have established his 
reputation. "Uncle Remus and His Friends" and "Dittle Mr. 
Thimblefinger and his Queer Country," are characteristic of his 
writiags. 

James Whitc<)mb Riley was born at C5-reenfield, Indiana in 



1854 and now lives in Indianapolis. He is a popular American 
poet and every new measurement of his ability places him on 
a higher plane as an author. He wrote: "The Boy Lives on Our 
Farm," "Tradin Joe," "The Poet of the Future," "Afterw^hiles." 
(Read Riley's "A Life Lesson,") 

Julian Hawtliorne ('184'6 — ) son of Nathaniel Hawthorne is a 
novelist land writer of mote. He wrote: "A Foot of Nature," 
"Idolatry," "Garth" and "Sabastian Strome." 

Thomas Kelson Page (1853 — ) is a native of Virginia. He 
has written extensively of Southern life before the war. 
(Read his "In Ole Virginia.") 

Eichard Harding' Davis (1864—) wrote "Soldiers of Fortune," 
and "Gallagher." 

Cliarles Dndley Warner (l-830i — ) is one of our most variously 
accomplished writers. He was the editor in chief of the "Amer- 
ican Men of Letters," and wrote "A Life of Irving," "The Golden 
House," "Their Journey," and many other volumes. 

Jobn Bnrrongiis of New York (1837 — ) is author of maoiy 
essays on Nature, but is best known as the author of "Riverby." 

Eugene Field's (1850 — ) stories and poems for :/oung people 
are unsurpassed. He has been called the "Laureate of Child- 
hood." "Little Boy Blue," "The Rock-a-by Lady," "New Year's 
Eve," and ."Love Songs of Childhood" are popular everywhere. 

MISCELLANEOUS WEITERS. 
Historians 

Bancroft wrote "A history of the United States. 

Motley wrote, "Rise of the Dutch Republic." 

Parkman wrote "France and England m America." 

Fyescott, "Conquest of Peru." 

Oord-y? wrote '^Political History of the United States. 



45 
Biographers, 
Irying wrote a "Life of Washington." 
.Tared Sparks wrote a "Life of Washington." 
Stoddard wrote a "Life of Abraham Lincoln." 

Orators — ^Webster, Everett, Olay, Hayne, C'alhoun, Ames and 
Curtis. 

(Read from Webster's reply to Hayne on the "Sale of Public 
La-nds, and State Rights;" also his "7th of March speech on the 
Omnibus Bill.") 

Statesmen — Hamilton, Adams, Franklin, iMorton, Bemton, 
Seward, Sumner and Blaine. 

Jurists — Marshall, Story, Black, Choate, Ellsworth, and 
Chase. 

Educators — Mann, Parker, Harper, White and Eliot. 

Philosophers — Franklin, Alcott and Fiske. 

Journalists — ^^Bryant, Lowell, Greeley, Curtis, and Bennett. 

Artists — Stuart, Abbey, Copeley, and Enneking. 

InTentors — ^Whitney, Fulton, Morse, Edison, Bell, Goodyear 
and Wr'ght. 

Humorists — Bill Nye, Mark Twain and Holmes. 

JS'atiiralists — Agassiz, Thoreau and Burroughs. 

Ulathematlciaiis— ^Bowditch, Rittenhouse, and Davi#«. 

"^ ASSUMED ?fAMES OF AUTHORS, 

Henry W. Shaw, (Josh Billings.) 
Miss Mary A. Dodge, (Gail Hamilton.) 
J. G. Holland, (Timothy Titcomb.) 
S. L. Clemens, (Mark Twain.) 
C. T. Brcrwn©, (Artemus Ward.) 



46 

J. R. Lowell, (Hosea Biglow.) 

D. P. Strather, (Porte Crayon.) 

G. A. Townsend, (O-ath.) 

D. R. Locke, (Petroleum V. Nasby.) 

Edgar W. Nye, (Bill Nye.) 

[2] BRITISH AUTHORS 

Geoffrey Chancer (1328-1400) is called the "Father of English 
Poetry." "The Canterbury Tales" is the best known of his writ- 
ings. This poem is a series of stories told by a company of 
pilgrims to the tomb of Thomas a Becket. 

Who was Thomas a Becket? What events of history can be 
associated with the time of Cancer? What distinguished Sir John 
Mandeville, John Wycliffe, and Edward III? 

ELIZABETHAN PERIOD. 

Tlie Golden Age, (1558-1649). This period embraces the 
reigns of Elizabeth, James I, and Charles I. With this period 
we can associate the defeat of the Spanish Armada, the settle- 
ments at Jamestown and Plymouth. It was an age of refine- 
ment and progress of every kind. The three great names of 
this period are "Spencer," "Shakespeare," and "Bacon" either 
of which would make any age illustrious. 

Spencer's best known poem is "The Faerie Queen," The 

two leading characters in the poem, — "Faerie Queen," and 

"Duessa" symbolize Elizabeth and Mary, Queen of the Scots, 
respectively. 

Sir Francis Bacon (1561-1626) was a philosopher and writer 
of note. As a philosopher and essayist he has no superiors. 
As a literary man, his fame rests on his essays and on his di- 
rections for the interpretation of nature, known as "Novum 
Orsaaum (The new organ)." He taught that nature will yield 
all her secrets to the diligent research of man. Genuine sci- 



47 

ence dates from him. He is called the "Father of Inductive 
Philosophy." 

William Sliakespeare (1564.-lt>16) was the greatest writer of 
this or any other age. Of his life, we know but little. His writ- 
ings must be read and re-read to l)e appreciated. His writings 
may be classed as "Tragedies," "Comedies," "Histories," and 
Tragic-Comic." 

Tragedies — Hamlet, King Lear, Macbeth. 

Comedies — Much Ado about Nothing, Taming of the Shrew, 
etc. 

Histories — ^King John, Richard II, Henry IV, Henry V, Hen- 
ry VI, Richard III, Hemry VIII. 

Tragic-Comic — ^Otaella, Merchant of Venice, and Romeo and 
Juliet. 

PURITAX A^E (1049-1660.) 

The commonwealth brought with it new thoughts in religion, 
new forces in politics, and new powers in social matters. The 
strong arm of Cromwell directed the activities and the clear 
intellect of Milton influenced the feelings of the new govern- 
ment. 

Jolm Milton (1608-1674) was the most scholarly of all 
English poets. "Paradise Lost," "L'Allegro (iMirth), II Pen- 
seroso (Melancholy,)" and "Comus" are this masterpieces. 

Jotiii Bniiyan wrote "Pilgrims Progress," and "The Holy 
War." 

THE RESTOHATIOX (1660-1700) 

This is the age of Louis XIV. Charles II in his exile w-as 
at his court. The gaities of the French oourt were introduced. 
The general taste was corrupt and it, in turn, corrupted the 
literature. This is called the "Age of Corrupt Dramatists," 
Dryden himiself said, "I write bad enough to please." 



48 

John Dryden (1631-1700) was a very able English poet and 
did much toward establishing correct style in English composi- 
tion. He wrote "Alexander's Feast," "Mas Plecnoe, ' 'tuem on 
Milton," and others, 

John Locke the philosopher, wrote an essay on "The Hu- 
man Understanding." 

Sir Isaac Newton the mathematician wrote "Principia," and 
discovered and wrote the laws of gravitation. 

AGE OF POPE A\D ADDISON-(1700-1727.) 

This age includes the reigns of Anne and George I and is 
called the "Augustan Age." The campaigns of the Duke of 
M'arlboro in Queen Anne's War, and the Treaty of Urtrecht are 
fhe great eveints. 

Alexander Pope (1688-1744) was a poet of .acknowledged 
ability. His style is much the same as Dryden but he, in 
smoothness and wit, surpassed Dryden. "Essay on Criticism," 
"Essay on Man," and "The Dunciad" are ambng his best pro- 
ductions. 

Daniel Defoe (1661-1731) is known as the author of "Rob- 
inson Crusoe." 

Joseph Addison (16712-1719) was an English prose writer of 
note. His style is pure, simple and elegant and is regarded as 
the best model of English Prose. He wrote "The Campaign," 
■'The Spacious Firmament on High," and, with iRichard Steele 
(1671-1729) edited and published the "Tatler" and "The Spec- 
tator." 

(iRead "Sir Roger De Coverly Papers.") 

AGE OF DR. JOHNSON (1727-1784) 

Tftiis period includes the reigns of George II, (1727-1760) and 
part of George III. It covers the period of the American Revo- 



49 

lution. This was the age of the great statesmen and orators — 
Pitt, Burke, Sheridan, Fox smd- Francis. 

Dr. Samuel Joliiisou (170'9-1784) was the writer of the first 
English Dictionary and the Literary dictator of London during 
this period. He wrote "Lives of the Poets," and many other 
works of merit. 

OTHER WRITERS 

DaTid Hume wrote "History of England." 

Gibbon wrote "Fall an,d Decline of the Roman Empire." 

Bosweii wrote "A Life of Johnson." 

Goldsmith one of England's greatest poets wrote "The De- 
serted Village," '-'She Stoops to Conquer," and "Vicar of V/ake- 
field." 

Blackstoiie wrote "Commentaries on the Laws of England." 

Thomas Gray wrote "Elegy in a Country Churchyard." 
(Read Burke's "Speech on the Conciliation of America.") 

BURKS AND COWPER (1784-1800) 

Robert Burns (1759-1786) the poet of nature and the "Shakes- 
peare of Scotland" excelled in his ability to express the emo- 
tions of the human heart. 

He wrote "Cotter's Saturday Night," "To Miary in Heaven,'*' 
"Scots who have with V/allace bled," "A iMan's a man for a' 
that," "Tarn O'Shanter," "To a Mouse," "Lines to a Friend," 
and many others of equal merit. 

EXTRACTS 

O had some power the gift to give us 
To see ourselves as others see us 
It would from many a blunder free us 
And foolish notion. 



&0 

The best laid schemes of mice and men 
Gang aft agley. 

And lea's us naught but grief an' pain 
For promised joy. 

IVilliain Cowi>er (1731-1800) was an a]>le English poet. Like 
Burns he took lor his subjects of poetic inspiration, themes of 
every day life. "My Mother's Picture," "John Gilpin," and "The 
Task'" are mentioned among his best poems. 

On what occasion was "My Mother's Picture" written? 

Of what does Cowper boast in that poem? 

AGE OF SCOTT AND BQIION (1800-1832.) 

Walter Scott (1771-1832) was a great poet and the greatest 
of British inoveiists. This has been styled an "Age of Ronmntic 
poetry." The two great events were the overtHirow of Napoleon 
and the War of 1812. His poems: "Lay of the Last Minstrel," 
and "Marmion,' a tale of Floden Field, are novels. "Ivanhoe," 
and "The Talisman" deal with the Crusades: "Woodstock," 
with the civil war, and the commonwealth; "Kenilworth," with 
the time of Elizabeth; "The Monastery," and "The Ablwt," with 
Mary Queen of Scots. 

Lord Byron (1788-1824) was a poet of the greatest genius 
but of misdirected energies. His first poem "Childe Harold" 
was one of the greatest of the 19th century. Other poems fol- 
lowed among them, "Prisoner of Chillon," "The Dream," "Dark- 
ness," and "Mazeppa." 

Percy Bysslie Shelley (1792-1822) was one of the great poets 
of this age. He wrote "Alastor," "The Skylark," "The Sensitive 
Plant," and "The Cloud." The rarest and the most exquisite 
in the realms of imagination are indicated in his shorter poems. 

THE LAKE POETS (1832-1850) 
Wordsworth, Coleridge and Sciithey. 

The great events of this period were: (1) The first reform 



81 

bill carried by King aud Commons against the Lords 1832. (2) 
Slavery abolisilied in England 1833. (3) First public grant made 
by the British government for public schools. 

IVilJiain Wordsworth is one of England's most popular poets. 
He was the founder of the "Lake School." Like our own AVhit- 
tier he is a poet of nature. The Lake School chose the most 
commonplace subjects and used the simplest language possible. 
His poems: "We are Seven," "The Daffodils," "Ruth" and "The 
Excursion," are read with delight everywhere. 

EXTKACTS 
Daffodils. 

Continuous as the stars tihat shine, 
And flash along the Milky Way, 
They stretched in never ending line 
Along the margin of a bay. 
Soutliej' wrote "Battle of Blenheim," "Inchcape .Rock," and 
"Life of N'elson." 

OTHEK WIlITEBSi. 

DcQuiiicj' wrote "Confession of an Opium-Eater." 

CJiarles Lamb, wrote "Essays of Elia," and "Tales from 
Shakespeare." 

Macanlaj (180i8-l&59) wrote the great lyric poem, "Layg o1! 
Ancient Rome," and a "iHistory of England." 

Carlyle v/rote a "History of the French Revolution'" and 
"Heroes and Hero Yv^orship." 

Tlioma-8 Campbell (1777-1844) was one of the most popular 
writers of the age. He v/rote "Pleasures of Hope," "Gertrude 
of Wyoming," "Lord Ullin's Daughter," and "Ye Mariners of 
England." 

Heury Hallam (177S-1859) w^as England's greatest Historian. 



52 

He wrote "The (Middle Ages," "Constitutional History of Eng- 
land," and "Introduction to the Literature of England." 

THE ViCTOKIAN AGE (1850—) 

Victoria became Queen of England in 1837. Progress to- 
wards "democracy" and "religious equality," and the expansion 
of the British Empire in the east, characterize this reign. 

Of the poets of this period, Tennyson, Mrs. Browning, and 
Robert Browning, easily take first place. 

Of the prose writers, Froude, Dickens, Thackeray, Lytton, 
George Eliot, and Ruskin, are most popular. 

Alfred Tennysoii (18;10h1892) was the greatest poet of this 
age. He was the poet laureate of England for 30 years. He 
wrote, "The Bugle Sound," "Break, Break, Break," "The Idyls 
of the King," "Enoch Arden," "Locksley Hall," "The May 
Queen," "Lady Clare," "Lord of Burleigh," and- "In Memorium." 

Elizabeth Barrett Broivaiug: (180.9-18&1) wrote "Prometheus 
Bound" (a translation), "The Seraphim," "Sparrows" "Sonnets 
from the Portuguese," and "Aurora Leigh." 

Robert Broyming (1812-1889) wrot« "Ride from Ghent to 
Aix," "The Ring and the Book," "Evelyn 'Hope," "The Pied Piper 
of Hamlin," and "Herve Riel." 

Charles Dickens (1812-1870) was a great novelist. He is a 
popular writer wherever the English language is read. He 
wrote "Old Curiosity Shop," "David Copperfleld," "Dombey and 
Son," "Christmas Stories," "Mystery of Edwin Drood," and 
•*Bleak House." 

William M.akepeace Tbackery (1811-1863) was a writer of 

fiction. He excelled in delineation of character. He wrote 
"'Vanity Pair," "Pendennis," "Henry Esmond," "The Newcomes," 
"The Virginians," and "The Four Georges." 

Lord Lft'ton (1805-1873) was a novelist, critic, and historian. 



53 

He wrote "Eugene Aram," "Last days of Pompeii," "Rienzi," 
'Last of the Barons," and "^Richelieu." 

Georg-e EHot CMrs. Lewes) (1820-1881) was one of England's 
most gifted novelists. She wrote "Romola," "Adam Bede," 
•'Silas Marner," "Mill on the Floss," and "Middlemarch." 

Jo/hn RHSkiii (1819 — ) has exerted a great influence upon 
modern literature and art. He wrote "Modern Painters," "Seven 
Lamps of Architecture," and "Lectures on Civilization." 

William Ewert Gladstone (180'9-1898) was a great English 
statesman, orator, scholar and author. He entered parliament 
in 1832, the year of the first Reform Bill. In 1847 he was elected 
to parliament to represent Oxford University and represented it 
continuously for 18 years. In 1866 Gladstone became leader of 
the House of Commons and was the greatest character in Eng- 
lish politics for the next twentj'-tlve years. He held various 
responsible government positions and was at different times 
premier. He wrote "The State in its relation with the Churcto," 
and "Studies on Homer and the Homeric Age." In politics lie 
was a Liberal and strongly advocated Hibme Rule for Ireland 
and The Irish Land Bill. 

SOME ENGLISHMEJS^ CLASSIFIED. 

Premiers — Peel, Pitt, Norih, Walpole, Cecil, Salisbury, Gladstone, 
Disraeli, and Campbell Bannerman. 

Orators— iPitt, Burke, Siheridan and Fox. 

StatesiBea — Pitt, Gladstone, Pauncefote, and Chamberlain. 

Painters and Artists— Constable, Vandyke, Landseer and Rey- 
nolds, 

Poets — ^Shakespeare, Spencer, Milton, Burns, and Tennyson. 

yoTelists — ^Ellot, Lytton, Dickens, Soott, and Thackery. 

Essayists — Bacon, Macaulay, Lamb and Jameson. 



54 
Philosopliers — ^^Xewton, Locke, Spencer and Bacon. 
Astronomers — Herschel. Whewell and Airy. 
TheologJaiiis— ^Newman, .Robertson and Alford. 
lii!*toriaiiS — Greene, Hallam, Gibbon and Hume. 
Educators — Ascliam, Arnold, Erasmus, Locke, and Spencer. 
>^aTal Officers — Nelson, Seymour, Drake, and Uacres. 
(Tenerals — ^^Marlboro, Wellington and Kitchener. 
Scientists — Tyndall, Huxley and Darwin. 



Part IV 



DICTIONARY OF READING 

Accent — ^A greater stress of voice placed upon one syllable 
of a word than upon the other or others. 

Allegory — A cointinued personification in the form of a 
story, Example: Buny^n's Pilgrim's Progress. 

Alliteration — The repetition of the same letter at the be- 
ginning of words; as, She sells sea shells. 

Allusion — A casual reference by the author to things the 
reader is assumed to know. 

Antitliesis — ^A figure of speech in which two objects are put 
in juxtaposition in order that each will appear more striking by 
the contrast; as, The prodigal robs his heir; the miser robs 
himself. 

Apostrophe — A digressive address of a speaker to a person 
or thing, present or absent. Ex — "And I have loved thee, 
Ocean." — ^Byron. 

Articnlatlon— iDistinctness of utterance. 

Barbarism — ^An offense against style or purity of language. 

Cadence — The fall of the voice as the sentence draws to Its 
close. 

Comedy — A dramatic representation of the lighter faults, 
passions, and follies, of mankind. Ex.— iMuch Ado About Noth- 
ing. 



^6 

Dlcffcion — Tlie right selection and use of word*. 

Didactic Poetry is poetry designed to teach. 

Drama — A human story intended to be acted before our 
©yes. Ex — "Macbeth." 

Drama^tization. The making of a play out of a reading 
lesson or story. The children take the place of the different 
characters and play out the story. Dramatizing aids in the 
appreciative interpretation of a story and in seeing the dramatic 
qualities in what is read. 

Elocution is the expressive delivery of sentences, including 
gesture, and appropriate intonations. 

Emottiou — A moving of the mind or feelings. 

Emphasis — The utterance of a word or expression with 
signal force or variation to call particular attention to it. 

Elementary Sound. One that can not be separated into two 
or more distinct sounds. 

Epic Poetry — ^Poetry that narrates some great or heroio 
enterprise. Ex. — ^Homer's "Illiad." 

Expression — ^Mode of speaking or reading. 

EaMe — ^A short allegory. 

Figuratiye Language.— A departure from the plain ordinary 
mode of telling a thing to make the meaning more forcible. 

Fiction — An imaginative literary product. Ex. — "Sdlaa Mar- 
ner," "Rose of Old St. Louis." 

Eoot — The unit by which a line of poetry is measured. A 
meter. 

Oesture — ^Any attitude of the body, action of the limbs, or 
expression of countenance, that is intended to add reality or 
force to the accompanying words. 



87 

GronpiDg — The thinking together and the speaking together 
of the words of a composition, that represent an idea. 

Hyperbole — ^An over-stating of the facts; as, "The waves 
were mountain high." 

Idea — An image of anything in the mind. 

Idiom— A form of expression that is peculiar to a language; 
He jum^ped to a conclusion. 

Inflection — ^A tending of the voice upward or downward. 
If both inflections are uttered in one impulse, it is a circumflex. 

Imagery-^Mental pictures. 

Interpretation — The act of understanding. 

Interrogation — The expression of an opinion or fact in th© 
form of a question; as, "Am I my brother's keeper?" 

Irony ridicules an object under the pretense of praising it. 
Ex. — You are a pretty fellow! 

Language is a medium for the communication of thought. 

Legend— A febulous story told as though it were true. 

Literature — The recorded expression of knowledge and fancy, 
that contains the element of beauty. 

Lyric Poetry — Poetry that expresses feeling in musical 
words. lEx. — "Psalm of Life." 

Metaphor — A figure of speech in which the name of one 
object is applied to another which It resembles in some particu- 
lar. Ex. — )His life is an open book.. 

Metonomy — ^A figure of speech by wliich a thing is named 
by naming something closely related to it. Ex. — He extended 
his faith by the sword. 

Mfmfft^ji^-'^ sameneM of tone to add dignity to expressiori. 



Modulation — The variations of tlie voice to denote emphasis. 

iaroTement — The rapidity of reading. 

Myth — A fable or traditional narrative. Myths usually deal 
with the supernatural. 

Personification— A figure of speech which attributes life or 
animation to lifeless things or to idealities. Ex.^ — "Freedom 
shrieked as Kosciusco fell." 

Phonics treats of the elementary sounds. 

Pitcli—The tone of voice as to loudness. 

Poetic License — A deviation from strict fact, form, or rule, 
for the advantage of the effect produced. 

Poetry — Interpreted ideas of knowledge or fancy, metrically 
expressed with a primary object to please. 

Prose — ^Language ordinarily used in speaking or writing. 

Pun — The expression of an unexpected relation by a pla^ 
upon homonyms. Ex. — ^^rhat was Joan of Arc maid of? 

Quality — The force, tone, or adaption of the voice to suit the 
occasion. 

Quantity — ^^The length of time used in uttering a sound or 
syllable. 

Ehythm— The consonance of measure and time in poetry. 

Eini'e — ^A correspondence in the sound of the last syllable 
of one line to that of the last syllable of another. 

Satire — A kind of wit used to attack follies and vices, or to 
reform abuses. Ex. — ^Lowell's "Bigelow Papers." 

Sarcasm — A keen, reproachful, scornful expression. 

S€aiming— The distinguishing and marking o-f th© meters of 
a linie of pcfstry. 



59 

Sentence — A complete thought expressed in words. 

Series — A number of words or expressions following each 
other in the same grammatical construction; as, "Days, months, 
years, and ages, shall circle away." 

Setting — An historical, or discriptive account of the events, 
conditions, or influences, on which a piece of composition is 
based, or that prompted its writing. 

Situation Elements — The "who," "the when," "the where" and 
"the occasion," in a story. 

Simile — ^A formal comparison between two objects of differ- 
ent kinds introduced by as, like, or so. Examples: 
True ease in writing comes by art not chance, 
As those move easiest who have learned to dance. 

— ^Pope, 
How far that little candle throws its beams, 
So shines a good deed in a naughty world. 

— Shakespeare. 

Solecism — A deviation from the idioms of a language or 
from the rules of syntax. 

.Stanza— A numlDcr of lines of poetry taken together, form- 
ing a whole, and containing every variety of measure found in 
the poem. 

Syneclidoche — A figure of speech in which the name of a 
part is put for the whole; as, "The b'oy left his father's hearth." 

Synonyms — Words that have the same general meaning but 
a different specific meaning; as, vacant — empty. 

Tautology — A needless repetition of the sense by using differ- 
ent words; as, He has the universal esteem of all men. 

Thought — A comparison of ideas. 



60 

Tragedy— A species of drama that ends disastrously to the 
hero or heroine. Ex — "Hamlet." 

Terse — A form of composition metrically arranged tliough 
not always poetic in thought. A verse is a line of poetry. 

Tlie four "W's"— Who? AVhen? Where? Why? in a story. 



'^^'^^ .'U 




LIBRARY OF CONGRESS 



•K"X-^-X-**-X-^'-^-X"3fr^Hf**«J<"X-^-3«-*X-**^ 



TEN WEEKS 




Is Arithmetic a difficult studl „ ^„ ^ . ■,..:,. »a».-..'. 
studied it year after year without satisfactory results f 

If so, it is because you are not studying it along right 
lines. You are perhaps, trying to memorize rules while 

YOU SHOULI) BE MAKING RULES 

Did it ever occur to you that every rule of Antlimetic 
was made by some student like yourself and that he had 
nothing but reason to guide him? You can make them the 
same as he, if you investigate for yourself as he did. 
This book encourages ordginal investigation and teaches 
not only the rules of Arithmetic but how to make them aiul 
how to apply them. 

One Dollar Will Bring The Book to You. 



THE CONDENSED SERIES 

Arithmetic (Cloth)— —- 

Grammar (Cloth) (New) 

general History 

Reading and Literature (New) 

Civil Government ONew) 

3reography — 

U. S. History 

State History ((New) 

Physiology ('New) 

Theory and Art of Teaching (New) 

Agriculture -' 

Orthography (New) •"•[' 

Penmanship and Bookkeeping (New) .I' 

The Entire Set Po^^tpaid J^.50 

Withor.t General History S3^'> 

Address: A. S. 't.EE, Author and Publisher. Ripley. W. Va. 



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